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Art in America the EPIC BANAL
Art in America THE EPIC BANAL BY: Amy Sherald, Tyler Mitchell May 7, 2021 10:08am Tyler Mitchell: Untitled (Blue Laundry Line), 2019. Amy Sherald (https://www.artnews.com/t/amy-sherald/): A Midsummer Afternoon Dream, 2020, oil on canvas, 106 by 101 inches. Tyler Mitchell and Amy Sherald—two Atlanta-born, New York–based artists—both capture everyday joy in their images of Black Americans. Recurring motifs in Mitchell’s photographs, installations, and videos include outdoor space and fashionable friends. Sherald, a painter, shares similar motifs: her colorful paintings with pastel palettes show Black people enjoying American moments, their skin painted in grayscale, the backgrounds and outfits flat. Both are best known for high-profile portrait commissions: in 2018 Mitchell became the first Black photographer to have a work grace the cover of Vogue. That shot of Beyoncé was followed, more recently, by a portrait of Kamala Harris for the same publication. Michelle Obama commissioned Amy Sherald to paint her portrait, and last year Vanity Fair asked Sherald to paint Breonna Taylor for a cover too. Below, the artists discuss the influence of the South on their work, and how they navigate art versus commercial projects. —Eds. Amy Sherald: Precious jewels by the sea, 2019, oil on canvas, 120 by 108 inches. TYLER MITCHELL: Amy, we spoke before about finding freedom and making your own moments of joy. I think of Precious jewels by the sea [2019]—your painting of two couples at the beach, showing the men standing with the women on their shoulders—as a moment that you constructed. -
Annual Report 2018-2019
ANNUAL REPORT 2018-2019 1 2 CONTENTS A Letter from Our Executive Director 4 A Letter from the Chair of the Board 5 Our Namesakes 6 Celebrating Our History: 50 Years of LGBTQ Health 8 Timeline 12 Reflections on our History 14-17 Our Patients 18 A Year in Photos 22 Our Staff 24 Callen-Lorde Brooklyn 26 Board of Directors 28 Senior Leadership 29 Howard J. Brown Society 30 Our Supporters 32 ABOUT US Callen-Lorde is the global leader in LGBTQ healthcare. Since the days of Stonewall, we have been transforming lives in LGBTQ communities through excellent comprehensive care, provided free of judgment and regardless of ability to pay. In addition, we are continuously pioneering research, advocacy and education to drive positive change around the world, because we believe healthcare is a human right. 3 A LETTER FROM OUR EXECUTIVE DIRECTOR Dear Friends, Supporters, and Community Members, Fifty years ago, Sylvia Rivera and Marsha P. Johnson were among the first brick throwers in the Stonewall Rebellions, igniting the fire that began – slowly – to change LGBTQ lives. That same year, the beginnings of Callen- Lorde started when two physicians opened the St. Mark’s Health Clinic to provide free healthcare services to the ‘hippies, freaks, and queers’ in the East Village. Today, that little clinic is Callen-Lorde Community Health Center - a network of health centers soon to be in three boroughs of New York City and improving LGBTQ health worldwide. What has not changed in 50 years is our commitment to serving people regardless of ability to pay, our passion for health equity and justice for our diverse LGBTQ communities and people living with HIV, and our belief that access to healthcare is a human right and not a privilege. -
The 2020 TJFP Team
On the Precipice of Trans Justice Funding Project 2020 Annual Report Contents 2 Acknowledgements 4 Terminology 5 Letter from the Executive Director 11 Our Grantmaking Year in Review 20 Grantees by Region and Issue Areas 22 The 2020 TJFP Team 27 Creating a Vision for Funding Trans Justice 29 Welcoming Growth 34 Funding Criteria 35 Some of the Things We Think About When We Make Grants 37 From Grantee to Fellow to Facilitator 40 Reflections From the Table 43 Our Funding Model as a Non-Charitable Trust 45 Map of 2020 Grantees 49 Our 2020 Grantees 71 Donor Reflections 72 Thank You to Our Donors! This report and more resources are available at transjusticefundingproject.org. Acknowledgements We recognize that none of this would have been possible without the support of generous individuals and fierce communities from across the nation. Thank you to everyone who submitted an application, selected grantees, volunteered, spoke on behalf of the project, shared your wisdom and feedback with us, asked how you could help, made a donation, and cheered us on. Most of all, we thank you for trusting and supporting trans leadership. A special shoutout to our TJFP team, our Community Grantmaking Fellows and facilitators; Karen Pittelman; Nico Amador; Cristina Herrera; Zakia Mckensey; V Varun Chaudhry; Stephen Switzer at Rye Financials; Raquel Willis; Team Dresh, Jasper Lotti; butch.queen; Shakina; Nat Stratton-Clarke and the staff at Cafe Flora; Rebecca Fox; Alex Lee of the Grantmakers United for Trans Communities program at Funders for LGBT Issues; Kris -
Annual Report 2019 - 2020
ANNUAL REPORT 2019 - 2020 1 2 ABOUT US Callen-Lorde is the global leader in LGBTQ healthcare. Since the days of Stonewall, we have been transforming lives in LGBTQ communities through excellent comprehensive care, provided free of judgment and regardless of ability to pay. In addition, we are continuously pioneering research, advocacy and education to drive positive change around the world, because we believe healthcare is a human right. CONTENTS History and Namesakes . 4 A Letter from our Executive Director Wendy Stark . 6 A Letter from our Board Chair Lanita Ward-Jones ������������������������������������������������������������ 7 COVID-19 Impact . 8 Callen-Lorde Brooklyn ������������������������������������������������������������������������������������������������������������������������������������������������10 Advocacy & Policy ��������������������������������������������������������������������������������������������������������������������������������������������������������������10 The Keith Haring Nurse Practitioner Postgraduate Fellowship in LGBTQ+ Health ������������������������������������������������������������������������������������������������������������������������������������������������������������������������ 12 Callen-Lorde by the Numbers . 14 Senior Staff and Board of Directors ������������������������������������������������������������������������������������������������������ 16 Howard J. Brown Society . .17 John B. Montana Society �����������������������������������������������������������������������������������������������������������������������������������������17 -
Ryan Mcginley
Akeem Flavors Artist Research Paper #3 Kelly – T.A. (PM) Ryan McGinley Many artists strive to create visual representations of events, symbols, and scenes that accurately reflect their lifestyles - with few of them ever being successful. However, by depicting himself, close friends, and mere acquaintances skateboarding, running, and moving by day as well as partying, taking drugs, and having sex by night, Ryan McGinley has easily surpassed this goal. The innocent yet edgy world captured by McGinley is far from fiction and closer to the documentation of his reality of being young, beautiful, and killing time in New York City. McGinley was born and raised in New Jersey until moving to New York to attend Parsons School of Design to study graphic design. After an inevitable introduction to the lifestyle of Manhattan’s artsy lower East Side and three years at Parsons McGinley became interested in photography. He explains that “For me the reason to go out to a party was to photograph,” (Gefter 2007). This is evident in Dash the almost voyeuristic style of his early photographs, in which he abandoned all concernBombing ,for 2000 detail and focused solely on the spirit of his subjects. For example, in Dash Bombing, McGinley captures a young graffiti artist tagging the wall of a building high above New York City. The lack of his attention to technicality in handling the camera is far from distracting. Instead, the viewer’s attention is absorbed by the subject’s concentration on his craft and the energy radiating from the city lights below. McGinley is simply a fly on the wall in capturing this fleeting moment of beauty and freedom. -
FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK at the PICTURES a Film by Fenton Bailey & Randy Barbato
FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy BArbAto BERLINALE SCREENING SCHEDULE (PREMIERE) Sunday, February 14th at 5:00 PM @ (P&I SCREENING) Sunday, FebruAry 14th At 9:00 PM @ Running Time: 1:48:24 minutes For press materials, please visit: Press ContAct Press ContAct Public Insight Dogwoof Andrea Klasterer Yung Kha Office: +49/ 89/ 78 79 799-12 Office: +44(0)20 7253 6244 Andrea cell: +49 163 680 51 37 Yung cell: +44 7788546706 Email: [email protected] Email: [email protected] InternAtionAl Sales InternAtionAl Press DOGWOOF [email protected] Vesna Cudic [email protected] / +44 7977 051 577 www.mapplethorpefilm.com www.facebook.com/MapplethorpeFilm www.twitter.com/Mapplethorpedoc www.filminc.com MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy Barbato SHORT SYNOPSIS MAPPLETHORPE: LOOK AT THE PICTURES is the first definitive, feature length portrait of the controversial artist since his untimely death in 1989. A catalyst and an illuminator, but also a magnet for scandal, Robert Mapplethorpe had but one goal: to ‘make it’ as an artist and as an art celebrity. He could not have picked a better time: the Manhattan of Warhol’s Factory, Studio 54, and an era of unbridled hedonistic sexuality. His first solo exhibition in 1976 already unveils his subjects: flowers, portraits and nudes. Mapplethorpe quickly gains notoriety through his explicitly sexual photographs from the gay sadomasochistic scene as well as nude pictures of black men. Directors Fenton Bailey and Randy Barbato were given unrestricted access to Mapplethorpe’s archives for their documentary Mapplethorpe: Look at the Pictures, in which this exceptional artist talks candidly about himself in recently discovered interviews. -
Radical Intimacy in Contemporary Art: Abjection, Revolt, Objecthood
Maine State Library Digital Maine Academic Research and Dissertations Maine State Library Special Collections 2019 Radical Intimacy in Contemporary Art: Abjection, Revolt, Objecthood Keren Moscovitch Follow this and additional works at: https://digitalmaine.com/academic RADICAL INTIMACY IN CONTEMPORARY ART: ABJECTION, REVOLT, OBJECTHOOD Keren Moscovitch Submitted to the faculty of The Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the requirements for the degree Doctor of Philosophy August, 2019 ii Accepted by the faculty of the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. COMMITTEE MEMBERS Committee Chair: Ewa Plonowska Ziarek, PhD Julian Park Professor of Comparative Literature and Global Gender and Sexuality Studies, University at Buffalo; Senior Research Fellow, Philosophy, Western Sydney University Committee Member: Silvia MaZZini, PhD Teaching Fellow (Aesthetics, Continental Philosophy) at the University of Groningen (NL), Faculty of Philosophy Committee Member: George Smith, PhD Founder and President; Edgar E. Coons, Jr. Professor of New Philosophy, Institute for Doctoral Studies in the Visual Arts iii © 2019 Keren Moscovitch ALL RIGHTS RESERVED iv it is not only the biological but being itself that is heard in the intimate. —Julia Kristeva To my grandfather אסלב לש יל אל v ACKNOWLEDGEMENTS I would like to thank my committee, particularly my dissertation director and mentor, Dr. Ewa Plonowska Ziarek for her commitment to this project and her generosity of spirit. Thank you as well to Dr. George Smith for leading the way and for so many great talks. Much gratitude to Dr. Silvia MaZZini for joining me on this journey. -
Marilyn Minter Biography
MARILYN MINTER BIOGRAPHY Born in Shreveport, Louisiana, 1948. Lives and works in New York, NY. Education: M.F.A., Syracuse University, 1972 B.F.A., University of Florida, 1970 Selected Solo Exhibitions: 2021 “Marilyn Minter: All Wet,” Montpellier Contemporain — Panacée, Montpellier, France, June 26 – September 5, 2021; catalogue “Marily Minter: Smash,” MoCA Westport, Westport, CT, April 2 – June 13, 2021 2020 “Marilyn Minter: Nasty Woman,” SCAD Museum of Art, Savannah College of Art and Design, Savannah, GA, February 11 – August 2, 2020 “Marilyn Minter: Splash!,” School of Visual Arts Armory Gallery, Blacksburg, VA, January 29 – February 22, 2020 2019 “Marilyn Minter,” Simon Lee Gallery, London, UK, June 6 – July 13, 2019 2018 “Marilyn Minter,” Lehmann Maupin, Hong Kong, China, August 30 – October 27, 2018 “Marilyn Minter: Smash + New Photographs,” Baldwin Gallery, Aspen, CO, July 27 – September 4, 2018 “Channel 3: Marilyn Minter,” Ratio 3, San Francisco, CA, June 2 – July 7, 2018 “Marilyn Minter,” Regen Projects, Los Angeles, CA, May 19 – June 23, 2018 2016 “Marilyn Minter: Spray On,” Carolina Nitsch, New York, NY, November 18, 2016 – January 20, 2017 “Marilyn Minter,” Salon 94 Bowery, New York, NY, October 27 – December 22, 2016 2015 “Marilyn Minter: New Paintings and Photographs,” Baldwin Gallery, Aspen, CO, November 27 – December 21, 2015 “Marilyn Minter,” Salon 94, New York, NY, October 27 – December 22, 2016 “Marilyn Minter: I'm Not Much But I'm All That I Think About,” Contemporary Art Museum St. Louis, St. Louis, MO, October 2, -
Ryan Mcginley
www.TeamGallery.com Ryan McGinley 1977 born on 17 October in Ramsey, NJ lives and works in New York, NY Education: 2000 B.F.A. in Graphic Design, Parsons School of Design, New York, NY Solo Exhibitions: 2012 Team Gallery, New York, NY, Animals Team Gallery, New York, NY, Grids 2011 Alison Jacques Gallery, London, England, Wandering Comma Galerie Gabriel Rolt, Amsterdam, The Netherlands, Somewhere Place 2010 Ratio 3, San Francisco, CA, Life Adjustment Center (with catalogue) Team Gallery, New York, NY, Everybody Knows This is Nowhere (with catalogue) The Breeder, Athens, Greece, Crooked Aisles 2009 Alison Jacques Gallery, London, England, Moonmilk (with catalogue) 2008 Ratio 3, San Francisco, CA, Spring and By Summer Fall Team Gallery, New York, NY, I Know Where The Summer Goes 2007 FOAM Fotagrafiemuseum Amsterdam, Amsterdam, The Netherlands, Ryan McGinley Team Gallery, New York, NY, Irregular Regulars 2006 Kunsthalle Vienna, Vienna, Austria, Project Space agnes b. galerie du jour, Paris, France, Sun and Health (with catalogue) Frieze Art Fair, London, UK (under the auspices of Team Gallery) 2005 Museo de Arte Contemporáneo de Castilla y León, León, Spain, Laboratorio 987: Entre Nosotros Arles, France, Rencontres Internationales de la Photographie 2004 P.S. 1 Contemporary Art Center/The Museum of Modern Art, Long Island City, New York, New Photographs (curated by Bob Nickas, with catalogue) University of the Arts, Philadelphia, PA Team gallery, inc. 83 grand street New york, ny 10013 tel. 212.279.9219 fax. 212.279.9220 www.TeamGallery.com 2003 The Red Eye Gallery, Rhode Island School of Design, Providence (curated by David Sherry) The Whitney Museum of American Art, New York, NY, The Kids Are Alright Bailey Fine Arts, Toronto, Canada 2002 MC Magma, Milan, Italy Galerie Giti Nourbakhsch, Berlin, Ryan McGinley: Photographien 2000 420 W. -
Exhibition Review: Ryan Mcginley at Team Gallery
MAR 22 Exhibition Review: Ryan McGinley at Team Gallery REVIEWS © Dash (Manhattan Bridge), courtesy of the artist and team (gallery, inc.) By Baylee McKeel Howling at you as you walk into the gallery is Ryan McGinley’s Dash (Manhattan Bridge). This image starts the show with a loud exclamation, a bright blonde haired man stretching out of the roof of a car, hat in hand and hair swept back by the wind. His face is shining with joy, a lively preface to the photographs to follow, a reminder of the happiness to be found in times defined by hopelessness. This body of work, Early, on view at Team gallery through April 1st, was created by McGinley in New York City from 1999 to 2003. This period marked the onset of the Bush era, 9/11, and the struggles of a nation simultaneously mourning and rebuilding. © Jake (Bloody Brain), courtesy of the artist and team (gallery, inc.) His photographs show us his friends, many artist themselves, such as painter Dan Colen, photographer and multi-media collagist Dash Snow, and Kunle Martins (better known by his graffiti moniker Earsnot). In closely intimate and raw photographs, they are laughing, weeping, bleeding, having sex, doing drugs, tagging walls, pissing on streets and being purely and genuinely human. His photograph, Facial, is side by side with East Village Sunrise, an image of a breath- taking New York sunset. The stunning blue, white, purple, orange, and red melt together against the silhouette of the city. An elegant photograph, it heightens the startling rawness of the unapologetic boy confronting the viewer, forcing us to acknowledge his sexual persona. -
International Center of Photography to Celebrate Artist Mickalene Thomas at Eighth Annual Icp Spotlights on October 23
MEDIA RELEASE Mickalene Thomas, Le Déjeuner sur l’herbe: Les trois femmes noires, 2010. © Mickalene Thomas. INTERNATIONAL CENTER OF PHOTOGRAPHY TO CELEBRATE ARTIST MICKALENE THOMAS AT EIGHTH ANNUAL ICP SPOTLIGHTS ON OCTOBER 23 Annual Event Includes Benefit Luncheon and Silent Auction NEW YORK, NY (OCTOBER 2018) — The International Center of Photography (ICP), the world’s leading institution dedicated to photography and visual culture, will celebrate acclaimed artist Mickalene Thomas at the eighth annual ICP Spotlights, taking place on October 23 in New York City. Co-chaired by Peggy Anderson, Sheree Hovsepian, and Debby Hymowitz, the benefit luncheon will include a silent auction and feature an in- depth, on-stage conversation between Prof. Beverly Guy-Sheftall and the honoree. Inspired by art history as well as popular culture, Thomas’s photographs and paintings of women examine and reimagine concepts of female identity and beauty. Her paintings, which are based on her photographs, are composed of paint, rhinestones, and enamel. “We’re excited to recognize Mickalene Thomas, a true luminary of the contemporary art world, for her work challenging conventional notions of truth, femininity, and race,” says Mark Lubell, Executive Director of ICP. “Mickalene’s art is incorporated into a recent ICP Museum exhibition, Multiply, Identify, Her, and the conversations her work evokes are central to those we are fostering through our education and public programs.” ICP Spotlights will once again include a silent auction featuring photography from both acclaimed photographers and ICP alumni. Past auctions have featured the work of Annie Leibovitz, Adam Fuss, Larry Fink, and more. Funds raised through the event support ICP’s education programs and exhibitions, as well as the Mary Ellen Mark Memorial Scholarship, which supports emerging talent in the field. -
ARTBOOK | D.A.P. 155 Sixth Avenue New York NY 10013 Tel (212) 627 1999 Fax (212) 627 9484 Fall/Winter 2014 Title Supplement
ARTBOOK | D.A.P. 155 Sixth Avenue New York NY 10013 tel (212) 627 1999 fax (212) 627 9484 Fall/Winter 2014 Title Supplement Marsden Hartley: The German Paintings 1913–1915 Edited by Dieter Scholz. Foreword by Udo Kittelmann. Text by Ilene Susan Fort, Thomas W. Gaehtgens, Kaitlyn Hogue Mellini, Alexia Pooth, Bruce Robertson, Thomas Weissbrich, Cornelia Wieg. This volume takes a close look at the most popular and influential period of the great American modernist painter Marsden Hartley—his Berlin years, during which he produced his pioneering "German Officer" portraits and a series of works that occupy a unique zone between abstraction and figuration. During a brief stint in Paris, Hartley met and fell in love with a Prussian officer, and early in 1913 he followed the officer to Berlin. When war broke out the officer was called up, and was killed in action in October 1914. Mourning his loss, Hartley created an astounding series of paintings that abstracted components of the officer's uniform, retaining their military symbolism and patterns. Nearly a half-century later, this combination of bright color and composition with popular signage, informed by the coding of gay culture, was to make a strong impact on Pop artists such as Jasper Johns and Robert Indiana. In this volume, approximately 25 of the artist’s works from these years (1913–1915) reveal the impact of World War I and elucidate the artist's appropriation of military symbols and Native American motifs. Also included are an illustrated chronology and a wealth of archival material that conveys the historical moment in which these works were made.